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Updated: June 4, 2025
Deep glowing richness of colour and smooth perfection without smallness of finish make this picture remarkable, notwithstanding its lack of any deeper significance. Nor must there be forgotten in an enumeration of the early Holy Families, one of the loveliest of all, the Madonna and Child with the infant St. John and St. Anthony Abbot, which adorns the Venetian section of the Uffizi Gallery.
The next commission after the Scalzo was to decorate the courtyard of the Convent of the Servi, now known as the Church of the Annunciation; and moving into adjacent lodgings, Andrea met Jacopo Sansovino, the Venetian sculptor, whose portrait by Bassano is in the Uffizi, a capable all-round man who had studied in Rome and was in the way of helping the young Andrea at all points.
Such are the great critic's enthusiastic words, and no one surely to-day would be found to gainsay them. We may note the characteristic treatment of the hair, the thoughtful look in the eyes, and the strong light on the face in contrast to the dark frame of hair, points which this portrait shares in common with the "Knight of Malta" in the Uffizi.
This picture is one of four panels executed for the Bartolini family. One of the others is in the Louvre, and a third in the Uffizi. Strangely enough, this equestrian portrait commemorates an Englishman, Sir John Hawkwood, whose name is Italianized in the inscription into Giovanni Acuto.
A desultory conversation followed, carried on principally by the young people, and then the count said, "Miss St. Clair tells me that you have visited the Uffizi and Pitti galleries. May I not go with you somewhere to-morrow? to La Certose or San Miniato, for instance?" "Thank you," I replied: "we are so exhausted with sight-seeing, Miss St.
The Baptism in the Accademia, a beautiful but not very charming work, perhaps of his old age, received, Vasari tells us, some touches from the brush of Leonardo, and for long the Annunciation of the Uffizi passed as Leonardo's work.
The copyists of pictures are very numerous, both in the Pitti and Uffizi galleries; and, unlike sculptors, they appear to be on the best of terms with one another, chatting sociably, exchanging friendly criticism, and giving their opinions as to the best mode of attaining the desired effects.
I paid another visit to the Uffizi gallery this morning, and found that the Venus is one of the things the charm of which does not diminish on better acquaintance. The world has not grown weary of her in all these ages; and mortal man may look on her with new delight from infancy to old age, and keep the memory of her, I should imagine, as one of the treasures of spiritual existence hereafter.
Here in the Uffizi, however, we have two works of his middle period, certainly among the best, if not the most beautiful, of his easel pictures. In one we see Madonna and Child in a rocky landscape, where there are trees and flowers ; the other is a triptych , one of the many priceless things to be found here.
Here, in the Uffizi, Gentile da Fabriano is represented by parts of an altar-piece, four isolated saints, St. Mary Magdalen, St. Nicholas of Bari, St. John Baptist, and St. George.
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